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<blockquote data-quote="ClassyCo" data-source="post: 442032" data-attributes="member: 7">Joan Bennett was married to film producer Walter Wanger from 1940 to 1965. There was a scandal that arose in December 1951 when Wanger shot Bennett&#039;s agent, Jennings Lang, in the groin in a fit of jealousy because he thought the two were having an affair. Bennett issued a statement, saying, she hoped Wanger &quot;wasn&#039;t blamed too much&quot; for the incident, even though he ended up spending four months in jail for his crime of passion. Bennett and Wanger remained married four fourteen years after the incident, with both taking hits to their careers and having to reroute themselves professionally. [ATTACH=full]59273[/ATTACH]Likewise, but I want to see more of them eventually. I&#039;ve read good about this one, and if everything goes to plan, I hope to get this one watched later in the week. Joan and Elizabeth even favored just a little (to me anyway), but I only recall seeing pieces of the sequel FATHER&#039;S LITTLE DIVIDEND. Too bad she didn&#039;t turn up in a &quot;hag horror&quot; like Bette and Joan Crawford. Perhaps Bennett could&#039;ve been a could replacement for Crawford in CHARLOTTE. As with you, I&#039;ve only seen a little of DARK SHADOWS. Selznick apparently considered Bennett a very strong contender for Scarlett. As late as Thanksgiving 1938, he considered her, along with Paulette Goddard, Jean Arthur, and Vivien Leigh the four remaining possibilities for Scarlett. When viewing Bennett&#039;s screen tests, I think they&#039;re okay. I can see the potential and what Selznick probably thought he saw, but she wasn&#039;t right for the role. Her voice was too husky, and she was perhaps just the wrong type to successfully pull off the part. I believe her testing was probably more publicity than anything for her, as it was taking place during her blonde-to-brunette transition. I&#039;ve long held an affection for Constance Bennett, who was second to only Garbo as a box office draw in the early 1930s. She was mega-popular, and was the first film actress to earn $30,000 a week as early as 1931. She appeared in several &quot;weepies&quot; or &quot;women&#039;s pictures&quot; and made a smooth transition into comedy in the late-30s in films like TOPPER and MERRILY WE LIVE.</blockquote>

[QUOTE="ClassyCo, post: 442032, member: 7"] Joan Bennett was married to film producer Walter Wanger from 1940 to 1965. There was a scandal that arose in December 1951 when Wanger shot Bennett's agent, Jennings Lang, in the groin in a fit of jealousy because he thought the two were having an affair. Bennett issued a statement, saying, she hoped Wanger "wasn't blamed too much" for the incident, even though he ended up spending four months in jail for his crime of passion. Bennett and Wanger remained married four fourteen years after the incident, with both taking hits to their careers and having to reroute themselves professionally. [ATTACH type="full" width="476px"]59273[/ATTACH] Likewise, but I want to see more of them eventually. I've read good about this one, and if everything goes to plan, I hope to get this one watched later in the week. Joan and Elizabeth even favored just a little (to me anyway), but I only recall seeing pieces of the sequel FATHER'S LITTLE DIVIDEND. Too bad she didn't turn up in a "hag horror" like Bette and Joan Crawford. Perhaps Bennett could've been a could replacement for Crawford in CHARLOTTE. As with you, I've only seen a little of DARK SHADOWS. Selznick apparently considered Bennett a very strong contender for Scarlett. As late as Thanksgiving 1938, he considered her, along with Paulette Goddard, Jean Arthur, and Vivien Leigh the four remaining possibilities for Scarlett. When viewing Bennett's screen tests, I think they're okay. I can see the potential and what Selznick probably thought he saw, but she wasn't right for the role. Her voice was too husky, and she was perhaps just the wrong type to successfully pull off the part. I believe her testing was probably more publicity than anything for her, as it was taking place during her blonde-to-brunette transition. I've long held an affection for Constance Bennett, who was second to only Garbo as a box office draw in the early 1930s. She was mega-popular, and was the first film actress to earn $30,000 a week as early as 1931. She appeared in several "weepies" or "women's pictures" and made a smooth transition into comedy in the late-30s in films like TOPPER and MERRILY WE LIVE. [/QUOTE]

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